Episode 294 Myths and Legends Ishtar

Total Page:16

File Type:pdf, Size:1020Kb

Episode 294 Myths and Legends Ishtar 1. Fill in the blanks while you listen to the episode. Character Overview In the ancient Near East, Ishtar was an important and widely worshipped mother goddess for many Semitic peoples. The Sumerians called her Inanna, and other groups of the Near East referred to her as Astarte. A complex figure, Ishtar combined the [1] good and evil-of many different [2] . As a mother figure, she was considered the mother of gods and humans, as well as the creator of all [3] blessings. In this role, she grieved over human [4] and served as a protector of [5] and motherhood. People also worshipped Ishtar as the goddess of sexual love and fertility. The more destructive side of Ishtar’s nature emerged primarily in [6] with war and storms. As a warrior goddess, she could make even the gods tremble in fear. As a storm goddess, she [7] bring rain and thunder. Major Myths Some myths say that Ishtar was the daughter of the moon god Sin and sister of the sun god Shamash. Others mention the sky god Anu, the moon god Nanna, the water god Ea, or the god [8] , lord of the earth and the air, as her father. Ishtar appears in many myths, but two are especially important. The first, part of the Babylonian Epic of Gilgamesh, tells how [9] offered to [10] the hero-king Gilgamesh because she was impressed by his courage and exploits. According to the epic, Gilgamesh refused her offer and insulted Ishtar, reminding the goddess of all the previous lovers she had harmed. Enraged, Ishtar sent the fierce Bull of Heaven to kill Gilgamesh, but he and his [11] Enkidu killed the beast instead. The other [ 12 ] myth of [ 13 ] concerns her descent to the underworld (land of the dead) and the sacrifice of her husband Tammuz. In this story, Ishtar decided to visit the underworld, which was ruled by her [14] Ereshkigal, perhaps to seize power there. Before departing, she instructed her follower Ninshubur to seek the help of the gods if she did not [15] . To reach the underworld, Ishtar had to pass through seven gates and remove a English Plus Podcast - 2 - [16] of her power-such as an article of clothing or a piece of jewelry-at each one. At the last gate, the goddess, naked and deprived of all her powers, met her sister Ereshkigal, who announced that Ishtar must die. She died immediately, and her corpse was hung on a stake. Meanwhile, the god Enki learned from Ninshubur that Ishtar was missing and sent two messengers who restored her to life. However, in order to leave the underworld, Ishtar had to substitute another body for her own. The goddess offered her young [17] , Tammuz, to take her place. This tale of death and rebirth was [18] with fertility and linked to the seasons and agricultural cycles, much like the story of Persephone in Greek mythology. In another version of the [19] ,[20] travels to the underworld to rescue Tammuz, who has died, and manages to [21] him back-but only for part of each year. Thus the [22] and rebirth of Tammuz is also linked to fertility and agricultural cycles. Ishtar in Context Ishtar and the myths about her provide interesting insight into ancient Near Eastern views on the roles of men and women in society. For example, [23] is said to have had many relationships with men, gods, and animals. During those relationships, the males are [24] always said to have suffered because they were distracted or weakened by Ishtar’s power over them. This suggests that ancient Babylonians respected and revered [25] ’s reproductive power. The [26] given this powerful female goddess translated into [27] for women in Babylonian society. Though Near [28] rulers were usually men, women were able to hold [29] and prestigious religious and political positions. This changed as the male- dominated Judeo-Christian faiths arose in the Near East, and female-dominated rituals and practices associated with the worship of Ishtar were branded as evil. As the worship of Ishtar faded, women gradually lost their [30] , political, legal, and [31] power. Key Themes and Symbols Ishtar was believed to be the representation of the planet [32] , and the eight- pointed star is a symbol commonly associated with her. As an extension of her role as the goddess of [33] love, Ishtar was also the [34] of prostitutes and alehouses. Prostitution was an important part of her cult, and her holy city Erech was [35] as the town of the [36] courtesans (prostitutes). Ishtar in Art, Literature, and Everyday Life Copyright © 2021 English Plus Podcast | www.englishpluspodcast.com 2 English Plus Podcast - 3 - In modern times, Ishtar has benefited from renewed interest in ancient mythologies of the Near East. The 1987 film Ishtar, starring Warren Beatty and Dustin Hoffman and often cited as one of the biggest boxoffice failures in cinematic history, is not connected with the Babylonian goddess other than by name. The name Ishtar has also been used for characters in numerous video games and Japanese [37] , though most do not draw heavily from the mythology of the original goddess. Read, Write, [38] ,Discuss In the Epic of Gilgamesh, the hero insults Ishtar by mentioning her many loves and the sad fates they met. Do you think modern [39] who have a number of romantic relationships are viewed in a similarly negative way today? Do you think this same view applies to males who have several romantic relationships? Why or why not? A. respect B. goddesses C. females D. return E. almost F. sorrows G. Think H. symbol I. sacred J. protector K. Venus L. respect M. Ishtar N. friend O. women P. Ishtar Q. marry R. well-known S. powerful T. characteristics-both U. death V. connection W. Enlil X. story Y. religious Z. Ishtar AA. sister BB. associated CC. known DD. comics EE. marriage FF. could GG. Ishtar HH. domestic II. Eastern JJ. husband KK. bring LL. sexual MM. earthly Copyright © 2021 English Plus Podcast | www.englishpluspodcast.com 3 English Plus Podcast - 4 - 2. Fill in the blanks while you listen to the episode. Character Overview In the ancient Near East, Ishtar was an [1] and widely [2] [3] goddess for many Semitic peoples. The Sumerians called her Inanna, and other [4] of the Near East [5] to her as Astarte. A complex figure, Ishtar [6] the characteristics-both good and evil-of many different goddesses. As a mother [7] ,shewas[8] the mother of gods and humans, as well as the [9] of all earthly blessings. In this role, she [10] over [11] sorrows and served as a [12] of marriage and motherhood. [13] also worshipped Ishtar as the goddess of [14] love and [15] . The more destructive side of Ishtar’s [16] emerged primarily in connection with war and [17] .Asa warrior [18] ,she[19] make even the gods [20] in fear. As a [21] goddess, she could bring rain and thunder. [22] [23] Some myths say that Ishtar was the daughter of the moon god Sin and [24] of the sun god Shamash. Others mention the sky god Anu, the moon god [25] ,the [26] god Ea, or the god [27] ,lordofthe[28] and the air, as her father. [29] appears in many myths, but two are especially [30] .Thefirst, part of the Babylonian Epic of Gilgamesh, [31] how Ishtar offered to [32] the hero-king [33] [34] she was [35] by his courage and exploits. [36] to the epic, Gilgamesh [37] her offer and insulted Ishtar, [38] the goddess of all the previous lovers she had harmed. [39] ,[40] sent the fierce Bull of [41] to kill [42] , but he and his friend Enkidu killed the [43] instead. The other well-known myth of Ishtar concerns her [44] to the underworld (land of the dead) and the sacrifice of her husband Tammuz. In this story, [45] decided to visit Copyright © 2021 English Plus Podcast | www.englishpluspodcast.com 4 English Plus Podcast - 5 - the underworld, which was ruled by her sister Ereshkigal, perhaps to seize [46] there. [47] departing, she instructed her [48] Ninshubur to seek the help of the gods if she did not [49] . To reach the underworld, Ishtar had to pass through [50] [51] and [52] a[53] of her power-such as an article of clothing or a piece of jewelry-at each one. At the last gate, the goddess, naked and deprived of all her powers, met her sister [54] , who announced that [55] must die. She died immediately, and her [56] was hung on a stake. [57] , the god Enki learned from Ninshubur that [58] was missing and sent two [59] who [ 60 ] her to life. [61] , in order to leave the underworld, Ishtar had to substitute [62] body for her own. The goddess offered her [63] husband, Tammuz, to take her place. This tale of [64] and [65] was [66] with fertility and linked to the seasons and agricultural [67] , much like the [68] of [69] in Greek [70] . In another version of the story, Ishtar [71] to the underworld to [72] Tammuz, who has died, and manages to bring him back-but only for part of each year. Thus the [73] and rebirth of Tammuz is also linked to fertility and agricultural [74] . Ishtar in [75] Ishtar and the myths about her [76] interesting insight into ancient Near [77] views on the [78] of men and [79] in [80] . For example, Ishtar is said to have had many relationships with men, gods, and animals. [81] those relationships, the males are almost always said to have suffered because they were distracted or weakened by Ishtar’s power over them.
Recommended publications
  • 1 Inanna Research Script
    INANNA RESEARCH SCRIPT (to be cut and shaped for performance) By Peggy Firestone Based on Translations of Clay Tablets from Sumer By Samuel Noah Kramer 1 [email protected] (773) 384-5802 © 2008 CAST OF CHARACTERS In order of appearance Narrators ………………………………… Storytellers & Timekeepers Inanna …………………………………… Queen of Heaven and Earth, Goddess, Immortal Enki ……………………………………… Creator & Organizer of Earth’s Living Things, Manager of the Gods & Goddesses, Trickster God, Inanna’s Grandfather An ………………………………………. The Sky God Ki ………………………………………. The Earth Goddess (also known as Ninhursag) Enlil …………………………………….. The Air God, inventor of all things useful in the Universe Nanna-Sin ………………………………. The Moon God, Immortal, Father of Inanna Ningal …………………………………... The Moon Goddess, Immortal, Mother of Inanna Lilith ……………………………………. Demon of Desolation, Protector of Freedom Anzu Bird ………………………………. An Unholy (Holy) Trinity … Demon bird, Protector of Cattle Snake that has no Grace ………………. Tyrant Protector Snake Gilgamesh ……………………………….. Hero, Mortal, Inanna’s first cousin, Demi-God of Uruk Isimud ………………………………….. Enki’s Janus-faced messenger Ninshubur ……………………………… Inanna’s lieutenant, Goddess of the Rising Sun, Queen of the East Lahamma Enkums ………………………………… Monster Guardians of Enki’s Shrine House Giants of Eridu Utu ……………………………………… Sun God, Inanna’s Brother Dumuzi …………………………………. Shepherd King of Uruk, Inanna’s husband, Enki’s son by Situr, the Sheep Goddess Neti ……………………………………… Gatekeeper to the Nether World Ereshkigal ……………………………. Queen of the
    [Show full text]
  • Death Attitudes and Perceptions of Death and Afterlife in Ancient Near Eastern Literature Leah Whitehead Craig Western Kentucky University
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by TopSCHOLAR Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects Spring 2008 A Journey Into the Land of No Return: Death Attitudes and Perceptions of Death and Afterlife in Ancient Near Eastern Literature Leah Whitehead Craig Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/stu_hon_theses Part of the Comparative Methodologies and Theories Commons, History of Religions of Eastern Origins Commons, Other Religion Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Craig, Leah Whitehead, "A Journey Into the Land of No Return: Death Attitudes and Perceptions of Death and Afterlife in Ancient Near Eastern Literature" (2008). Honors College Capstone Experience/Thesis Projects. Paper 106. http://digitalcommons.wku.edu/stu_hon_theses/106 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. A Journey Into the Land of No Return: Death Attitudes and Perceptions of Death and Afterlife in Ancient Near Eastern Literature Leah Whitehead Craig Senior Honors Thesis Submitted to the Honors College of Western Kentucky University Spring, 2008 Approved by: _________________________________ _________________________________
    [Show full text]
  • Inanna Quiz ___1. Ninshubur Is: (A
    Inanna Quiz _____ 1. Ninshubur is: (a) Inanna’s sister (b) Inanna’s beloved husband (c) Inanna’s faithful servant (d) queen of the gods 2. Which three deities is Ninshubur to ask for help? _________________ , ____________________, and _________________________ _____ 3. When Inanna goes to the underworld, why does she say she has come? (a) to the funeral rites of her brother in law (b) to receive secret knowledge (c) to mount a challenge to Ereshkigal’s power (d) to experience death so that she may understand what it is to be human _____ 4. Which is NOT an image Inanna calls up to evoke the effect of death? (a) becoming wood for the woodcutter (b) facing torment and mockery in the underworld (c) being shattered like stone by a stonecutter (d) being covered by dust _____ 5. Which of the following is NOT among the me: (a) the shugurra crown (b) a lapis necklace (c) a measuring rod and line (d) a cloak of darkness _____ 6.The god who knows the water of life and the secret of life is: (a) Enki (b) Inanna (c) Nanna (d) Ninshubur _____ 7. When Ereshkigal hears of Inanna’s appearance, she is: (a) happy to see her (b) resentful of the gods for trapping her in the underworld (c) angry enough to set a trap for Inanna (d) ready to beseech Enki to intercede on her own behalf _____ 8. In mourning for Inanna, Ninshubur does NOT: (a) beat a drum (c) walk around the houses of the gods (c) shave off her long black hair (d) dress like a beggar _____ 9.
    [Show full text]
  • Studies in Early Mediterranean Poetics and Cosmology
    The Ruins of Paradise: Studies in Early Mediterranean Poetics and Cosmology by Matthew M. Newman A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Classical Studies) in the University of Michigan 2015 Doctoral Committee: Professor Richard Janko, Chair Professor Sara L. Ahbel-Rappe Professor Gary M. Beckman Associate Professor Benjamin W. Fortson Professor Ruth S. Scodel Bind us in time, O Seasons clear, and awe. O minstrel galleons of Carib fire, Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal’s wide spindrift gaze toward paradise. (from Hart Crane’s Voyages, II) For Mom and Dad ii Acknowledgments I fear that what follows this preface will appear quite like one of the disorderly monsters it investigates. But should you find anything in this work compelling on account of its being lucid, know that I am not responsible. Not long ago, you see, I was brought up on charges of obscurantisme, although the only “terroristic” aspects of it were self- directed—“Vous avez mal compris; vous êtes idiot.”1 But I’ve been rehabilitated, or perhaps, like Aphrodite in Iliad 5 (if you buy my reading), habilitated for the first time, to the joys of clearer prose. My committee is responsible for this, especially my chair Richard Janko and he who first intervened, Benjamin Fortson. I thank them. If something in here should appear refined, again this is likely owing to the good taste of my committee. And if something should appear peculiarly sensitive, empathic even, then it was the humanity of my committee that enabled, or at least amplified, this, too.
    [Show full text]
  • Women in the Ancient Near East: a Sourcebook
    WOMEN IN THE ANCIENT NEAR EAST Women in the Ancient Near East provides a collection of primary sources that further our understanding of women from Mesopotamian and Near Eastern civiliza- tions, from the earliest historical and literary texts in the third millennium BC to the end of Mesopotamian political autonomy in the sixth century BC. This book is a valuable resource for historians of the Near East and for those studying women in the ancient world. It moves beyond simply identifying women in the Near East to attempting to place them in historical and literary context, follow- ing the latest research. A number of literary genres are represented, including myths and epics, proverbs, medical texts, law collections, letters and treaties, as well as building, dedicatory, and funerary inscriptions. Mark W. Chavalas is Professor of History at the University of Wisconsin-La Crosse, where he has taught since 1989. Among his publications are the edited Emar: The History, Religion, and Culture of a Syrian Town in the Late Bronze Age (1996), Mesopotamia and the Bible (2002), and The Ancient Near East: Historical Sources in Translation (2006), and he has had research fellowships at Yale, Harvard, Cornell, Cal-Berkeley, and a number of other universities. He has nine seasons of exca- vation at various Bronze Age sites in Syria, including Tell Ashara/Terqa and Tell Mozan/Urkesh. ROUTLEDGE SOURCEBOOKS FOR THE ANCIENT WORLD HISTORIANS OF ANCIENT ROME, THIRD EDITION Ronald Mellor TRIALS FROM CLASSICAL ATHENS, SECOND EDITION Christopher Carey ANCIENT GREECE, THIRD EDITION Matthew Dillon and Lynda Garland READINGS IN LATE ANTIQUITY, SECOND EDITION Michael Maas GREEK AND ROMAN EDUCATION Mark Joyal, J.C.
    [Show full text]
  • Inanna: a Modern Interpretation
    The University of Maine DigitalCommons@UMaine Honors College Spring 2019 Inanna: A Modern Interpretation Erin Butts University of Maine Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the Communication Commons, and the Theatre and Performance Studies Commons Recommended Citation Butts, Erin, "Inanna: A Modern Interpretation" (2019). Honors College. 485. https://digitalcommons.library.umaine.edu/honors/485 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. INANNA: A MODERN INTERPRETATION By Erin Butts A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (Communications, Theatre) The Honors College The University of Maine May 2019 Advisory Committee: Elizabeth Neiman, Associate Professor of English and Women’s, Gender, and Sexuality Studies, Co-Advisor Mary Jean Sedlock, Lecturer in Theatre, Production Manager, and Technical Director, Co-Advisor Daniel Bilodeau, Chair of Theatre and Dance Julie Lisnet, Instructor of Theatre Jennie Woodard, Preceptor in the Honors College © 2019 Erin H. Butts All Rights Reserved ABSTRACT Sumer has a culture lost to history. Currently, the University of Maine offers no courses about ancient Mesopotamia, one of the first civilizations. Over the years, historians have been translating the cuneiform tablets containing their religion and history. There has been one adaptation of those translations, by Diane Wolkstein in 1983 to bring the stories to a wider audience through a collection of stories around the goddess Inanna.
    [Show full text]
  • <I>Descent Into Hell</I>
    Volume 20 Number 2 Article 2 Spring 3-15-1994 The Mythical Method of Descent Into Hell Evans Lansing Smith Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Smith, Evans Lansing (1994) "The Mythical Method of Descent Into Hell," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 20 : No. 2 , Article 2. Available at: https://dc.swosu.edu/mythlore/vol20/iss2/2 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Considers Williams’s Descent Into Hell as an excellent “example of the use of the mythical method [as defined by T.S. Eliot] as a metaphor of poesis, by which the fundamental forms of the imagination are catalyzed.” Geometrical symbolism and the underworld journey link it to many modernist works.
    [Show full text]
  • Desire, Discord, and Death : Approaches to Ancient Near Eastern Myth / by Neal Walls
    DESIRE, DISCORD AND DEATH APPROACHES TO ANCIENT NEAR EASTERN MYTH ASOR Books Volume 8 Victor Matthews, editor Billie Jean Collins ASOR Director of Publications DESIRE, DISCORD AND DEATH APPROACHES TO ANCIENT NEAR EASTERN MYTH by Neal Walls American Schools of Oriental Research • Boston, MA DESIRE, DISCORD AND DEATH APPROACHES TO ANCIENT NEAR EASTERN MYTH Copyright © 2001 American Schools of Oriental Research Cover art: Cylinder seal from Susa inscribed with the name of worshiper of Nergal. Photo courtesy of the Louvre Museum. Cover design by Monica McLeod. Library of Congress Cataloging-in-Publication Data Walls, Neal H., 1962- Desire, discord, and death : approaches to ancient Near Eastern myth / by Neal Walls. p. cm. -- (ASOR books ; v. 8) Includes bibliographical references and indexes. ISBN 0-89757-056-1 -- ISBN 0-89757-055-3 (pbk.) 1. Mythology--Middle East. 2. Middle East--Literatures--History and crticism. 3. Death in literature. 4. Desire in literature. I. Title. II. Series. BL1060 .W34 2001 291.1'3'09394--dc21 2001003236 Contents ABBREVIATIONS vii ACKNOWLEDGEMENTS viii INTRODUCTION Hidden Riches in Secret Places 1 METHODS AND APPROACHES 3 CHAPTER ONE The Allure of Gilgamesh: The Construction of Desire in the Gilgamesh Epic INTRODUCTION 9 The Construction of Desire: Queering Gilgamesh 11 THE EROTIC GILGAMESH 17 The Prostitute and the Primal Man: Inciting Desire 18 The Gaze of Ishtar: Denying Desire 34 Heroic Love: Requiting Desire 50 The Death of Desire 68 CONCLUSION 76 CHAPTER TWO On the Couch with Horus and Seth: A Freudian
    [Show full text]
  • Lord of the Nether\Ųorld
    6 that LORD OF THE NETHER\ØORLD also rela anc. À furt b.y coe: Giv dou the the mu wol Yet first draw near the lower halls of Dis I and through the lands ofdeep Avernus seek, for my son, a meeting with me. I am nor hin among sad Shades, in impious Tartarus; riat my home is in Elysium, among ent the gracious gatherings ofthe pious ones. to! Yirgil, Aeneid Y : 96 7-8' l .. ass( oU SLEEP THÂT YoU MAY VAKE; YoU DIE THAT YOU MAY LIVE'' SAY THE PYRAMID TEXTS \ ^T I formulating the Egyptian hope of regeneration in "archaic. brevity."' As Peter Kingsley thc Th puts it as well in discussing ritual death and descent and immortalization and ascent in early M( Greek philosoph¡ "one dies to be reborn; one descends into the depths in order to ascend."3 Mr In the Golden Ass or Metamorphoses of Apuleius, for example, "the initiation of Lucius into the tio mysteries of Isis at Kenchreai involves a free-will death, a dying of the old life, and a rebirth no culminating in his emergence in the likeness of the sun god."4 In this state of free-will death, cio the candidare is confronted by invisible powers of the netherworld in the shape of good and be evil genii. He identifies himself with them, which is the best method of getting to know them to and gaining power over rhem.t The Egyptian New Kingdom royal funerary text known as the tht Amduat,for instance, conrains formulaic sentences that emphasize a familiaricy with the beings del in the netherworld for a safe nocturnal journey.d In ancient Mesopotamia, the netherworld is usually described as a gloomy land of the ln dead.
    [Show full text]
  • 119–144 God of Heaven and Sheol: the “Unearthing”
    Hebrew Studies 58 (2017): 119–144 GOD OF HEAVEN AND SHEOL: THE “UNEARTHING” OF CREATION Scott B. Noegel University of Washington in Gen 1:1 must mean ָה ָארֶ ץ Abstract: In this contribution I argue that as אֶרֶ ץ the underworld.” After surveying evidence for rendering“ “underworld” elsewhere in the Hebrew Bible, and examining cognate evidence from Mesopotamia and Ugarit, I contend that, as a merism, as “the heavens and the underworld” here makes ה ָארֶ ץ and הַשׁמַָיִם reading better sense in terms of Israelite cosmology. I then illustrate how attention to the cosmological merism improves our understanding of the biblical creation and of several other passages beyond Genesis. Afterwards, I examine some historical factors that precluded later generations from -in Gen 1:1 as the “underworld.” The article con ה ָארֶ ץ understanding cludes with an excursus on Enuma Elish. Gen 1:1–2 בְּרֵ אשִׁ יתָבּ ר אָאֱ ֹלהִ יםָאֵ תָהַשׁמַ יִםָוְאֵ תָהאָרֶ ץ וְהאָרֶ ץָה יְתהָתֹהוָּו בֹהוָּוְחֹשֶׁ ְךָעַל־פְּ נֵיָתְ הֹוםָוְ רוּחַ ָאֱ ֹלהִ יםָמְרַחֶפֶתָעַ ל־פְּ נֵיָהַמּיִם 1. In the beginning God created the heavens and the earth. 2. And the earth was void-and-waste, and darkness was over the face of the deep, and the spirit of God hovered over the face of the waters. These two majestic verses are arguably the most famous in Scripture. They bring us into a remote world, informed by an omniscient narrator inspired with secret knowledge of the origins of the cosmos. Of course, one reason for their renown is that they open both the Hebrew and Christian canonical Bibles, and thus, they have been engrained in Western religious tradition for two millennia.
    [Show full text]
  • Sumerian Literature; a Preliminary Survey of the Oldest Literature in the World
    SUMERIAN LITERATURE; A PRELIMINARY SURVEY OF THE OLDEST LITERATURE IN THE WORLD S. N. KRAMER University Museum, University of Pennsylvania, Oriental Institute, University of Chicago. TABLE OF CONTENTS PAGE List of Abbreviations ..................................................... 293 The Significance of Sumerian Literature .......... ........................... 293 Inanna's Descent to the Nether World .......... ............................ 295 Introduction ........................................................ 295 Transliteration ........................................................ 296 Notes on Transliteration . ............................................... 303 Translation ........................................................ 305 Notes on Translation .................................................... 312 Excursus A: The Decipherment of Sumerian ........ ......................... 316 Excursus B: Sumerian Epics and Myths ........... .......................... 318 Plates 1-10 ACKNOWLEDGMENT The author is profoundly grateful to the Board of Managers of the University Mu- seum, to Dr. George C. Vaillant, its director, to Mr. Horace H. F. Jayne, his prede- cessor, and to Professor Leon Legrain, the curator of its Babylonian Section, for their generous cooperation in making this study possible. LIST OF ABBREVIATIONS AOF Archiv fur Otientforschung (Berlin). PBS X 2 Langdon, S. H. Sumerian Liturgical Texts AS No. 12 Kramer, Samuel N. Lamentation over the (Philadelphia, 1917). Destruction of Ur (Chicago, 1940). RA Revue D'Assyriologie
    [Show full text]
  • Interpretation of Inanna's Descent Myth “From the Great Above Inanna
    Interpretation of Inanna’s Descent Myth “From the Great Above Inanna opened her ear to the Great Below.” In Sumerian, the word for ear and wisdom are the same. For example, Enki, the God of Wisdom, is said to have his ear “wide open” -- an unfiltered receptivity! This implies that Inanna's primary reason for “going to hell” was to seek wisdom and understanding. But in order to make such a spiritual journey, she first had to give up her earthly powers and possessions. They don’t allow a lot of luggage on the road to hell. Preparing for the Descent into the Underworld In the myth, she abandoned heaven and earth to descend to the underworld, her office of holy priestess, her temples in the seven principal cities where she was worshipped. She gave up her earthly powers and possessions -- an essential willingness required of any soul undertaking such a journey, of any soul following such a path of initiation. Inanna also recognized the need to protect herself. She gathered together seven of The Me, attributes of civilization which she transformed into such feminine allure as crown, jewelry, and a royal robe. These were intended serve as her protections. They included her crown, earrings of small lapis beads, a double strand of beads about her neck, her breastplate called “Come, man, come”, her golden hip girdle, the lapis measuring rod and line, and her royal breechcloth. Each of these adornments were worn at the level of each Kundalini chakra! Finally, she instructed her faithful servant, Ninshubur, what to do in case she did not return -- to lament her loss, beat the drum for her, and go to the cities -- to the temples where Enlil (her father’s father), Nanna (her father) and Enki (her mother’s father) were, and ask for their help.
    [Show full text]